Sunday, November 18, 2012

"Are You Afraid of Me?": Joy (1977)

Hi
folks! Recently, I've been interested in pornography's attitude toward female
sexual agency and desire. Yeah, a pretty massive topic, I know. But, more
specifically, I've been interested in how pornography (the texts, the
filmmakers, the consumers) reveals its conflicted attitude toward female sexual
agency in its many films that focus on a female sexual journey of some kind.
These films range from The Devil in Miss Jones, to Deep Inside Annie
Sprinkle, to Tori Black is Pretty Filthy, to today's focus, Joy
(1977). Joy is an unusual film in terms of its plot, yet it also
illuminates generic patterns in pornography (film and literature), and hence is
a neat little example of what I have found to be true of much pornographic film
and literature: desire for active female sexuality at the same time as
conflict/dis-ease regarding the nature and extent of this desire.

The
popularity of female sexual protagonists in pornography suggests there is great
pleasure to be had in seeing a woman transgress the sexual social norms of her
gender; sexual journeys in heterosexual pornography are most typically run
through the body of a woman because such sexual adventure is more transgressive
for a woman. In this way, pornography’s obsessive attention to pushing female
sexual limits and the female epiphany via sexual violence or exploitation can
be viewed and understood in more complicated terms than simply “men get off
watching women being raped.” In Joy (1977), originally titled The
Female Rapists, a young woman named Joy (Sharon Mitchell) refuses to have
sex with her boyfriend, who then breaks up with her. She is later raped in her
home, but has an epiphany midway through her sexual assault, demanding, “I want
more!”

She
then goes about New York City on a rape spree, which causes a series of copycat
rapes perpetrated by women, and Joy is eventually arrested but set free. The
film is a unique example of the rape-themed pornographic sexual journey, yet representative of the genre in
its conflicted attitude toward female sexual agency. This attitude is conveyed
through three key moments in the film: 1) Joy’s initial rape and subsequent
rape of her ex-boyfriend, 2) the police chief’s discovery of his wife’s
adultery and subsequent crackdown on the female rapists, and 3) the final
police action against Joy, where she is raped into submission by order of the angry
and hypocritical Lt. Handcock (Jake Teague), arrested, and eventually released thanks to the
sexual favours she performs on him.

In
the initial scene, when Joy asks for “more” from her rapist, he leaves in
bewildered fear, and Joy immediately departs and breaks into her ex-boyfriend
Ricky’s apartment, where he is showering, and rapes him. This first sequence is
significant in that the male aggressors are sexually turned off by Joy’s sexual
aggression, and her ex-boyfriend Ricky is essentially in the same victim role as
Joy: his private space is invaded while he is vulnerable and flaccid. His
initial reaction is shock and disapproval. Joy has already stripped naked, and
pulls the shower curtain back, prompting Ricky to cover his soft penis. “Joy!
What are you doing here?” Ricky says, startled. There is a pause, in which
Ricky looks at Joy carefully, shifts into indignation and disapproval, and
points his finger at her: “You’re
naked!”

"You're naked!"

The
fellatio scene that follows tracks Ricky’s transition from disapproval of Joy’s
unfeminine desire for sex to bewildered ecstasy and climax. His disapproval, in
spite of his earlier cajoling of Joy, exposes the double standard held to women
in terms of their sexual activity. Earlier, Ricky had tried to pressure Joy
into sex, noting his primary concern is that he is “the laughing stock of the
whole basketball team,” and yet in this scenario he is put off by Joy’s brazen
sexual assertiveness. Not only does Ricky want Joy to be sexually desirous on
his terms (in other words, in traditionally gendered terms), but also his
desire for sex is entwined with his desire to please his homosocial community
of the basketball team. In this way, this opening sequence demonstrates a
tension on the part of male pornographic producer and consumer regarding the
transgression of gender norms. This tension is further exposed when, after
Ricky has ejaculated and his penis gone limp, Joy looks up at Ricky
disappointed, asking, “what happened, it’s
gone away!” “I need more, Ricky,” Joy explains hurriedly, “Right now. I
– I can’t wait.” Joy’s disappointment is rooted in a naiveté regarding the male
penis. Specifically, the penis’s inability to live up to the perpetually hard
pornographic penis. Joy must have multiple penises in place of an individual
penis that cannot fulfill pornographic expectations. Joy demands of men what
men are traditionally supposed to demand of the pornographic woman.

Joy’s
rape victims express pleasure and relief, yet nevertheless report the crime to
police. This confusing plot move, and resulting contradictory impulses to
celebrate the female rape spree but also investigate it as a crime, reveals an
uneasiness regarding Joy and her copycat rapists. While men are indeed relieved,
and violent crime rates go down, there is concern connected to the fact that
women now roam the streets like zombies, and people are copulating all over the
sidewalks and on peoples’ lawns.

A
major turning point occurs in the film when Lt. Handcock comes home to discover
his wife having sex with Phil the plumber on the kitchen table. Staring in
horror, he mutters, “Oh Joy, you’re
gonna get yours.” Women putting out is all well and good – up until this
point, Handcock had been criticizing the rape victims for not getting
Joy’s number – but when it comes to wives cheating on their husbands a line
must be drawn. The female rapist spree is a positive experience until the
shake-up of traditional gender roles and sexual activity becomes too
transgressive. In other words, when the women start to stray from
institutionalized, patriarchal, heteronormative couplings, something needs to
be done. As a side note, I realized the significance of this scene – in fact,
this line of dialogue – when I missed it the first time I watched the film, and
came away with quite a different idea of who we as viewers were supposed to
identify with. The second time I watched the film, I heard this low-spoken line
of dialogue quite clearly, and instantly understood that we are meant to
identify with Joy and regard Lt. Handcock as a hypocritical, sexist, and
spiteful old man.

The
solution to the “problems” caused by Joy, confusingly, is to rape Joy. How can
the woman who wants “more, more, more” be raped? The film’s answer to this
perplexing question is to invoke race. The police chief selects the black
police officer, who dutifully exposes his “weapon” for the police chief to
inspect and promises, “I’ll put that cunt in her place.” In a disturbing scene,
he rapes Joy in a rage, calling her “Freak!...Fucking slut!,” and then arrests
her. Joy avoids being charged, however, as, she seduces the hypocritical police
chief while at gunpoint, asking him provocatively, “Are you afraid of me?”

"Are you afraid of me?"

It
is a question that could be asked of all the men in regard to all the women of
pornography; perhaps all women in general. The film ends with Joy, banished
from NYC, standing uncertainly in an airport, gazing at two sailors. Her facial
expression transforms from uncertain to determined, and her pursuit of these
sailors (and the other men in the bathroom) provides a sense of Joy’s intention
to pursue her desires unabashed. Yet the narrative is not entirely coherent.
Joy as a character is pushed and pulled in different directions throughout the
film, the film unable to settle on a coherent desire between on-screen female
sexuality and off-screen male visual desire. For me, this final scene was a
sort of triumph for Joy; a “fuck you” to the man/men who tried to hold her
down. Yet, it is still a form of defiance quite palatable to those men
involved, and thus does not quite eradicate the sense that Joy has been unable to truly exercise sexual agency outside of gender norms.

All in all, if it were not immediately obvious, I found this film to be fascinating, unique, and beautifully shot. Highly recommended.